The fourteen analysed instrumental pieces are taken from the Tunisian repertoire of traditional ṭubu’ – mainly improvisations of Muḥammad Ghānim on rabāb and °Khmayyis° Tarnān onʿūd °ʿarbī° – recorded at the 1932 Congrès du Caire. We show that the tools developed in the last few years allow for a thorough analysis of this repertoire and, mostly, that even the most “simple” performances by renowned musicians have much to tell about the music that they tried to represent at this occasion.
In this article, we tackle one of the problems which arise in the theory of musical intervals of Tunisian tubû’ : How to signify modal notes by semantic signs which translate them theoretically ? For that, we tried to elucidate in this writing the theoretical models of tbâ dhil which knew several of distinct hypotheses to determine the signs of these modal notes.
Author : Aicha Kalleli. The musical form is not a simple combination of different elements of a musical whole no a structural covering of the musical discourse. It is a multidimensional phenomenon that reflects the evolution of the different styles of composition of Arabic music.
Author : Wael Samoud. Approaching the field of musical semiotics musical appears an audacious attempt in order to clarify better the functioning of the sign’s system being at the work in the emanation and the communication of the musical sense.